MPhil/PhD Research

Ongoing Projects

2013
– ongoing

What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?

2015
– ongoing

My thesis is centred around the question, “Can there be anthrodecentric art?” This question itself is presupposed by several questions, each complex and requiring in-depth examination. First, “What is art?” “When does art occur?”

2014
– ongoing

2015
– ongoing

My work addresses a conflict in identity. We identify ourselves by our name, in theface of ‘others’ and by our histories. A matter of being given a name and inheriting a legacy passed on from past generations is both passive and active.

2014
– ongoing

2014
– ongoing

Developing out of my interest in feminist re-visions of histories and visions of the future through intersecting practices of cultural production, theory and activism, this project explores the work of women in the field of speculative fiction – including science fiction, utopian/dystopian, separatist and fantasy fiction, non-fiction, fandom and artwork.

2014
– ongoing

How can we meet a tree?Is it possible to get to know trees?To hear them and become familiar with them?How intensely, under what conditions, and through what forms of knowledge do we experience and engage with “creation”, including ourselves?How is it we ethically relate to the environment?

2014
– ongoing

My desire to enact a reappraisal of ekphrastic hope and fear is motivated by the differences I have identified between Korean and Western understandings of time in relation to abstract painting, and of how the artist deploys his ‘life experiences’ as coordinates of productive practice.

2006
– ongoing

What is at stake within Breer’s process and distinctive employment of cinematic assemblage within the postwar period, is not only the desire to investigate non-traditional sites and techniques and to inclusively claim, say, the moving-image as an artistic medium, but to make these claims comprehensible through their aesthetic modes and means.

2012
– ongoing

My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of the two?

2010
– ongoing

Fiona Curran's research considers the role of fine art practices since the 1960s in relation to the environmental impact of new technologies, focusing on the critical significance of landscape in examining conditions of power in the context of 21st century late-capitalism.

2012
– ongoing

Moulding and casting are widely used techniques of modern and contemporary sculptural practices. But their applications are also employed beyond the disciplinary art canon, in areas not immediately associated with art making.

2010
– ongoing

Past Projects

2008
– 2014

In this research project I show how a performative, material reading of the artwork provides for an interpretive framework constituted as much by the form, subject matter and context of the artwork, as by the viewer’s embodied experience thereof.

1995
– 2000

2000
– 2004

Mikhail Karikis' doctoral research was a methodological experiment, which employed academic writing, music composition and art practice to explore notions of the 'self' through the study of voice and sound.

2012
– 2007

My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object.

1998
– 2002

This research project examined the concept of mediated presence through the perception of inanimate images coming to life, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief.

2009
– 2013

Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.